Ethan Vestby Movie Reviews & Previews - Rotten Tomatoes

Ethan Vestby

Ethan Vestby
Ethan Vestby's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Little White Lies, The Film Stage, Cinema Scope

Movie Reviews Only

Rating T-Meter Title | Year Review
50% Disappearance (Verdwijnen) (2017) Maybe the film needed more of that hilariously overwrought quality to actually hold the viewer's attention.‐ Cinema Scope
Read More | Posted Sep 28, 2018
C 56% Our Time (Nuestro tiempo) (2018) A three-hour cuckold drama that's thankfully at least a little closer in spirit to the lizard-brained surrealism of Post Tenebras Lux as opposed to his banalization of Dreyer (and still art-house calling card) Silent Light.‐ The Film Stage
Read More | Posted Sep 17, 2018
C 77% What You Gonna Do When the World's on Fire? (2018) Considering the anger captured onscreen, is now really the time for such softball humanism?‐ The Film Stage
Read More | Posted Sep 15, 2018
D 68% Hold the Dark (2018) Getting the chance to be an exceedingly dull stab at Elevated Horror, Elevated Thriller, and Elevated Action all in one fell swoop, Hold the Dark is nothing but a staggering failure in both the realm of art and entertainment.‐ The Film Stage
Read More | Posted Sep 14, 2018
83% Let Me Fall (2018) And don't worry, the careful flashback structure will be sure to further remind us of this lopsided binary between their lives throughout.‐ Cinema Scope
Read More | Posted Sep 11, 2018
60% The Day I Lost My Shadow (Yom Adaatou Zouli) (2018) The Day I Lost My Shadow serves as the perfect example of a film that's in no way contemptible but hard to muster any real enthusiasm for.‐ Cinema Scope
Read More | Posted Sep 11, 2018
B 100% In Fabric (2018) It's easy to admire Strickland's formal chops while still finding the film-or rather his throwback "flourishes"-a little conceited. ‐ The Film Stage
Read More | Posted Sep 9, 2018
60% Angel (Un ange) (2018) Fae's titular Ange may be who we begin and end the film with, but Thierry's more pedestrian issues are unfortunately where the film's heart ultimately lies.‐ Cinema Scope
Read More | Posted Sep 6, 2018
C+ 58% Caniba (2018) As disturbing as the film can be, at the end of the day one doesn't really take much away from it.‐ The Film Stage
Read More | Posted Aug 14, 2018
B 82% Scarred Hearts (2018) Scarred Hearts achieves a poetic dimension more through its formalism than its subject.‐ The Film Stage
Read More | Posted Nov 21, 2017
96% Old Stone (Lao Shi) (2016) As its protagonist's desperation takes hold, the motivating factors of the wife and children he's pressured to protect gradually recede from the narrative, and director Johnny Ma focuses instead on the character's morphing into a violent anti-hero.‐ Cinema Scope
Read More | Posted Oct 16, 2017
84% My Entire High School Sinking Into the Sea (2017) This is a cartoon that knows it's a cartoon.‐ Cinema Scope
Read More | Posted Oct 16, 2017
75% Jean of the Joneses (2016) Considering that it's based in such a particular milieu, it's disappointing that so much of Jean of the Joneses feels commonplace, from dialogue that consists mostly of sitcom-ready quips to staid mise en scène that stagnates Paige's game performance.‐ Cinema Scope
Read More | Posted Oct 16, 2017
85% The Girl With All the Gifts (2017) With its dystopian setting housing superhuman teens and zombies, The Girl With All the Gifts seems like a movie generated by a Young Adult Entertainment algorithm. ‐ Cinema Scope
Read More | Posted Oct 16, 2017
100% Barakah Meets Barakah (Barakah yoqabil Barakah) (2016) It speaks to Sabbagh's talent that he can finally administer such a light touch to a movie whose romantic leads so self-consciously bear the burdens of generational and national identity.‐ Cinema Scope
Read More | Posted Oct 16, 2017
No Score Yet Miami (2017) Choosing to be a prosaic crime flick, replete with dull-as-dishwater naturalism and handheld camerawork, over the full-blown erotic thriller hinted at by the logline is nothing but a missed opportunity.‐ Cinema Scope
Read More | Posted Oct 16, 2017
95% Custody (Jusqu'à la garde) (2018) While in places you can see the film Legrand is trying to make-a domestic mosaic of sorts-in the end, Custody comes off as far too formulaic and vague.‐ Cinema Scope
Read More | Posted Oct 16, 2017
B+ 93% First Reformed (2018) Four decades later, First Reformed may be the full realization of Schrader's vision.‐ The Film Stage
Read More | Posted Sep 18, 2017
B+ 74% Jeannette: The Childhood of Joan of Arc (Jeannette l'enfance de Jeanne d'Arc) (2018) Before Dumont could even be safely recategorized again, Jeannette goes far beyond the label of goofy lark.‐ The Film Stage
Read More | Posted Sep 13, 2017
D+ 84% Darkest Hour (2017) The film is far less ostentatious than Joe Wright's previous works, rather leaving all the showboating to the worst performance of Gary Oldman's career, a Winston Churchill impression that plays out like a procession of award show clips.‐ The Film Stage
Read More | Posted Sep 12, 2017
C+ 92% Thelma (2017) Thelma plays like a Wachowski sisters or M. Night Shyamalan movie minus any of the earnestness or fun.‐ The Film Stage
Read More | Posted Sep 10, 2017
B+ 90% Bodied (2018) Coming at the beginning of "Trump's America," it is, if anything, a middle-finger to "The Movie We Need Right Now" ethos dolloped out on a daily basis.‐ The Film Stage
Read More | Posted Sep 8, 2017
B+ 89% The Ornithologist (O ornitólogo) (2017) By its climax of sorts, it's clear the film may be a goof on Rodrigues' part, but good thing it's at least funny enough to not just sustain, but build its laughs to the very end.‐ The Film Stage
Read More | Posted Jun 19, 2017
A- 87% Hermia & Helena (2017) One to already emphasize the charisma and big-screen friendly faces of frequent stars Agustina Munoz and Maria Villar, [Matías Piñeiro] still seems to have an ability to make them points of representation, not fetish.‐ The Film Stage
Read More | Posted May 24, 2017
B- 89% By the Time It Gets Dark (Dao khanong) (2017) Most of these ideas are more interesting on principal than execution. That is, until its final twenty-or-so minutes.‐ The Film Stage
Read More | Posted Apr 5, 2017
B 55% The Human Surge (El auge del humano) (2017) It's not so much deliberately confrontational in the way so many experimental films are (or pride themselves on being), but rather risk-taking for the sake of something almost impossible to articulate -- even if based in something obvious.‐ The Film Stage
Read More | Posted Feb 28, 2017
C- 86% Apprentice (2017) One has the overwhelming feeling that they won't get anything more from watching the film than just reading this thematic summary.‐ The Film Stage
Read More | Posted Feb 27, 2017
B+ 36% Resident Evil: The Final Chapter (2017) Maybe you're a much better person than this writer if you don't find this rousing as hell.‐ The Film Stage
Read More | Posted Jan 27, 2017
5/5 86% Sully (2016) One of 2016's very best.‐ Little White Lies
Read More | Posted Dec 2, 2016
B+ 87% The Death of Louis XIV (La mort de Louis XIV) (2017) The Death of Louis XIV may be Serra's clearest film in terms of formal patterns and his most mysterious in actual meaning. It depends on who you ask; to this writer, that's a good thing.‐ The Film Stage
Read More | Posted Oct 14, 2016
C 91% Raw (2017) Not managing to be as icky as it wants to be, Raw makes one long for the days of exploitation films that compensate for the lack of technical craft with pure, idiotic chutzpah.‐ The Film Stage
Read More | Posted Sep 19, 2016
B- 100% Justin Timberlake + The Tennessee Kids (2016) Perhaps the stakes are too low to really criticize a project that generally works well enough on its own terms.‐ The Film Stage
Read More | Posted Sep 16, 2016
B+ 79% The Woman Who Left (Ang babaeng humayo) (2017) The Woman Who Left is as nocturnal as the best noir, one of those films in which every transition from nighttime to daytime registers as a shock.‐ The Film Stage
Read More | Posted Sep 15, 2016
B 31% Salt and Fire (2017) Salt and Fire's strange rhythms are so in-tune with Shannon's own performance and inherent presence that he seems to emerge as something of a co-author. ‐ The Film Stage
Read More | Posted Sep 13, 2016
C+ 54% The Belko Experiment (2017) In the hands of McClean, the film's violence feels often overwrought instead of fun.‐ The Film Stage
Read More | Posted Sep 12, 2016
B 31% The Assignment (2017) If it's time to tread in '80s nostalgia - and, while we're at it, why not a dash of post-Tarantino '90s crime-flick remembrance to go with it? - (Re)Assignment speaks to these needs.‐ The Film Stage
Read More | Posted Sep 12, 2016
B+ 82% How Heavy This Hammer (2015) At only two feature films, Toronto-based writer-director Kazik Radwanski has already formed a clear thematic through line.‐ The Film Stage
Read More | Posted Aug 11, 2016
B 94% Donald Cried (2017) It finds pleasures in compactness, believably stretching the course of a lazy Saturday in January over the course of 85 minutes. ‐ The Film Stage
Read More | Posted Aug 5, 2016
C 85% The Girl With All the Gifts (2017) Without the narrative or formal conviction to pull off the clichés rampant throughout, it sadly seems stuck between two worlds.‐ The Film Stage
Read More | Posted Aug 3, 2016
84% Casualties of War (1989) Speaking to our near-masochistic desire to revisit works in the hope that we can reverse the tragic outcome, Casualties of War perhaps transcends the very label of "war film."‐ The Film Stage
Read More | Posted Jul 20, 2016
87% Greetings (1968) With the mission statement of setting out to make something akin to Jean-Luc Godard's '60s work, De Palma's third feature, Greetings, still feels surprisingly his own.‐ The Film Stage
Read More | Posted Jul 20, 2016
F No Score Yet Countdown (2013) As mentioned before, even the most ideologically idiotic horror can at least thrive off style, but unfortunately Countdown's is just as inert as its message.‐ The Film Stage
Read More | Posted Jul 11, 2016
B+ No Score Yet Lesson of the Evil (Aku no kyôten) (2012) Lesson of the Evil at least operates under a guise of exploitation - all of which is welcomingly daft.‐ The Film Stage
Read More | Posted Jul 1, 2016
B 79% The Dirties (2013) To deny the overall accomplishments of The Dirties would be an injustice; Johnson's debut promises great things to come.‐ The Film Stage
Read More | Posted Jul 1, 2016
D+ 77% Big Ass Spider! (2013) In an age when the grindhouse doesn't really exist anymore, it seems that Big Ass Spider! is made solely for a solitary snickering viewing.‐ The Film Stage
Read More | Posted Jul 1, 2016
D 77% Big Bad Wolves (2014) The problem that comes with Big Bad Wolves is that its excessive violence is too intrinsically tied to questions of morality to simply create excuses of "it's just entertainment."‐ The Film Stage
Read More | Posted Jun 29, 2016
B- 32% 24 Exposures (2014) Yet if, like said before, Swanberg keeps "chiseling" away, he'll maybe, one day, shape his masterpiece, no matter how much hard material there is to still get through.‐ The Film Stage
Read More | Posted Jun 29, 2016
B+ 57% Riaru: Kanzen naru kubinagaryû no hi (Real) (2014) REAL is more a studio assignment than personal project for Kurosawa, yet it still displays the talents and obsessions that have made his name.‐ The Film Stage
Read More | Posted Jun 27, 2016
C 36% The Green Inferno (2015) It's unfortunate that the entire thing is kind of tedious, while its frequent gore is disappointingly unimaginative. ‐ The Film Stage
Read More | Posted Jun 27, 2016
B- 62% The Sacrament (2014) Genuinely creepy and upsetting, the picture showcases West's ability to make even a tired subgenre marginally fresh.‐ The Film Stage
Read More | Posted Jun 23, 2016